Giovanni Girolamo Savoldo

In this period he finished the Rest on the Flight into Egypt (Augsburg), the Elijah Fed by the Raven (National Gallery of Art, Washington), and a Deposition.

In this work, which is in the Timken Museum of Art, Savoldo shows the saint with his hands clasped in prayer, fleeing from a hellish vision into a daylight pastoral landscape.

[4] On June 15, 1524, Savoldo signed a contract for an altarpiece for the church of San Domenico in Pesaro (now in the Pinacoteca di Brera, Milan).

A rediscovery of his oeuvre began in the mid-nineteenth century; the art historian Creighton Gilbert says that Savoldo was "one of the last artists to be raised to the ranks of the major High Renaissance masters".

[6] Savoldo's paintings show eclectic influences, and combine Venetian coloration with Lombard modeling to achieve a quiet lyricism.

He appears to have been influenced by Titian and Lorenzo Lotto and, in his preoccupation with clearly defined shapes in light, by Cima da Conegliano and Flemish painters.

The Magdalene is shrouded in a white satin mantle that covers her head, leaving her face in shadow, with the silvery expanse of drapery relieved by the merest glimpse of a red sleeve.

The Mourning of Christ , c. 1513–1520, oil on wood, Kunsthistorisches Museum , Vienna
Mary Magdalene , c. 1535–1540. oil on canvas, National Gallery , London
Saint Matthew and the Angel , 1534, oil on canvas, Metropolitan Museum of Art , New York